Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Cambodia and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1975.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Tokyo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Darondo to the grime kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gang Gang Dance. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Matthew Halsall,
Brick,
Major Organ And The Adding Machine,
Man Eating Sloth,
the Bar-Kays,
Tres Demented,
Bronski Beat,
Hashim,
Prince Buster,
Joensuu 1685,
Graham Central Station,
Urselle,
Nico,
Little Man,
Soul Sonic Force,
Lucky Dragons,
Tears for Fears,
The Searchers,
Anakelly,
The Move,
Mary Jane Girls,
Sarah Menescal,
Scrapy,
Electric Light Orchestra,
Donald Byrd,
Sexual Harrassment,
Crooked Eye,
Guru Guru,
8 Eyed Spy,
MDC,
Sound Behaviour,
Franke,
Peter & Gordon,
Joy Division,
Neil Young & Crazy Horse,
Black Sheep,
AZ,
Connie Case,
John Holt,
Andrew Hill,
Blancmange,
The Monochrome Set,
Barry Ungar,
Ajijia Myrayebe,
Laurel Aitken,
Robert Görl,
Gil Scott-Heron and Jamie xx,
Young Marble Giants,
Das Ding,
Marc Almond,
A Certain Ratio,
The Stooges,
Minnie Riperton,
New York Dolls,
The Five Americans,
Reagan Youth,
Qualms,
Jeff Lynne,
Rotary Connection,
The Saints, The Saints, The Saints, The Saints.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.